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Film and Modernity (Paris Version) | University of Kent 09/25/21 Film and Modernity (Paris version) | University of Kent Film and Modernity (Paris version) View Online This module investigates the relationship between film, modernity and modernism through the analysis of the works and career of Jean-Luc Godard, whose oeuvre can be largely defined by a desire to challenge the traditional boundaries between film and reality, fiction and documen-tary, autobiography and history, and film theory and film practice. In addition to being a pro-tagonist in the launching of a film movement preoccupied with the “here and now” of French society, Godard has engaged with a number of trends in film criticism and film theory. The analysis of his works will therefore allow for an examination of a number of questions that have defined the study of film, from auteurism to a more interdisciplinary approach to the cin-ema, from Bazin to Eisenstein, from filmmaking as sociology to filmmaking as self-investigation. 1. Greenaway, Peter. Death in the Seine. Published online 1989. 2. Benjamin, Walter, Tiedemann, Rolf. Arcades. In: The Arcades Project. Belknap Press; 1999:871-884. 3. Charney, Leo, Schwartz, Vanessa R. Cinematic Spectatorship before the Apparatus: The Public Taste for Reality in Fin-de-Siècle Paris. In: Cinema and the Invention of Modern Life. University of California Press; 1995:297-319. 4. Gunning T. Modernity and Cinema. A Culture of Shocks and Flows. In: Cinema and 1/14 09/25/21 Film and Modernity (Paris version) | University of Kent Modernity. Rutgers University Press; 2006:297-315. 5. Simmel G. The Metropolis and Mental Life. In: The Sociology of Georg Simmel. Free Press; :409-424. 6. Clark, T. J. Introduction to ‘The painting of modern life: Paris in the art of Manet and his followers’. In: The Painting of Modern Life: Paris in the Art of Manet and His Followers. Rev. ed. Thames & Hudson; 1999:3-22. 7. Giddens A. Modernity and Self-Identity: Self and Society in the Late Modern Age. In: Art in Modern Culture: An Anthology of Critical Texts. Phaidon P. in association with the Open University; 1992:17-22. 8. Berman, Marshall. Introduction: Modernity-Yesterday, Today and Tomorrow,. In: All That Is Solid Melts into Air: The Experience of Modernity. Verso; 1983:15-36. 9. Desnos R. Spectacles of the Street—Eugène Atget (1928). In: Photography in the Modern Era: European Documents and Critical Writings, 1913-1940. Metropolitan Museum of Art; 1989:16-17. 10. MacOrlan P. Preface to Atget Photographe de Paris. In: Photography in the Modern Era: European Documents and Critical Writings, 1913-1940. Metropolitan Museum of Art; 1989:41-50. 11. 2/14 09/25/21 Film and Modernity (Paris version) | University of Kent Méliès G. The Monster. Georges Melies: First Wizard of Cinema 1896-1913. Published online 1903. 12. dir: Georges Melies . The Melomaniac. Published online 1997. 13. Méliès G. The Mermaid. Georges Melies: First Wizard of Cinema 1896-1913. Published online 1904. 14. Melies G. A Trip to the Moon. Melies The Magician - DVD [1994]. Published online 1902. 15. Harvey, David. Introduction to Paris, capital of modernity. In: Paris, Capital of Modernity. Routledge; 2003:1-22. http://library.kent.ac.uk/cgi-bin/resources.cgi?url=http://www.kentuk.eblib.com/patron/Full Record.aspx?p=182818 16. Harvey, David. Consumerism, Spectacle, and Leisure. In: Paris, Capital of Modernity. Routledge; 2003. http://library.kent.ac.uk/cgi-bin/resources.cgi?url=http://www.kentuk.eblib.com/patron/Full Record.aspx?p=182818 17. Gorky M. A Review of the Lumière Program at Nizhni-Novgorod . In: Kino: A History of the Russian and Soviet Film. 3rd ed. Allen & Unwin; 1983. 18. 3/14 09/25/21 Film and Modernity (Paris version) | University of Kent Gunning T. An Aesthetic of Astonishment. Art and Text. 1989;(Spring):31-45. http://df7sm3xp4s.search.serialssolutions.com/?C=Art and Text&s=AC_T_M&V=1.0&L=DF7SM3XP4S&submit=Find&C=&S=SC&N=10 19. Burch N, Brewster B, American Council of Learned Societies. Life to Those Shadows. University of California Press; 1990. http://library.kent.ac.uk/cgi-bin/resources.cgi?url=http://hdl.handle.net/2027/heb.08105 20. Foucault M. Nietzsche, Genealogy, History. In: The Foucault Reader. Vol Peregrine book. Penguin; 1986:76-100. 21. Gaudreault A. Film, Narrative, Narration: The Cinema of the Lumière Brothers. In: Early Cinema: Space, Frame, Narrative. BFI Publishing; 1990:68-75. 22. Schivelbusch W. The Railway Journey: The Industrialization of Time and Space in the 19th Century. University of California Press; 2014. http://www.vlebooks.com/vleweb/product/openreader?id=KentUniv&isbn=9780520957909 23. Allain, Marcel, Feuillade, Louis. Fanto ̂ mas. Published online 1913. 24. dir: Louis Feuillade. Les Vampires - DVD. Published online 1915. 4/14 09/25/21 Film and Modernity (Paris version) | University of Kent 25. Feuillade, Louis, Moget, Alain. Les vampires: accompagnement musical original au piano. Published online 1915. 26. Callahan, Vicki. Louis Feuillade and the Cinema of Uncertainty. In: Zones of Anxiety: Movement, Musidora, and the Crime Serials of Louis Feuillade. Vol Contemporary approaches to film and television series. Wayne State University Press; 2005:12-73. 27. Abel, Richard. The Rise of the Feature Film, 1911-1914. In: The Cine Goes to Town: French Cinema, 1896-1914. University of California Press; 1994:298-428. 28. Abel, Richard. Booming the Film Business: The Historical Specificity of Early French Cinema. In: Silent Film. Athlone; 1996:109-124. 29. Bordwell D. La Nouvelle Mission de Feuillade; or, What Was Mise-en-scène? Velvet Light Trap. 37. http://df7sm3xp4s.search.serialssolutions.com/?V=1.0&N=100&L=DF7SM3XP4S&S=AC_T_ M&C=Velvet Light Trap 30. Kirsanoff D. Menilmontant. Avant-garde: experimental cinema of the 1920s and 1930s : films from the Raymond Rohauer collection. Published online 1924. 31. Bun ̃ uel, Luis, Ivens, Joris, Metzner, Erno, Vance, William, Leger, Ferdinand. Avant garde and experimental films. 1924;Les grands films classiques. 5/14 09/25/21 Film and Modernity (Paris version) | University of Kent 32. Duchamp M. Anemic Cinema. Unseen Cinema: early American avant-garde film, 1894-1941. Published online 2005. 33. Kuenzli, Rudolf E. Introduction to Dada and surrealist film. In: Dada and Surrealist Film. 1st MIT Press ed. MIT Press; 1996:1-12. 34. Brender R. Functions of Film Léger’s Cinema on Paper and Cellulose, 1913-25. Cinema Journal. 1984;24(1):41-64. http://df7sm3xp4s.search.serialssolutions.com/?C=Cinema Journal&s=AC_T_M&V=1.0&L=DF7SM3XP4S&submit=Find&C=&S=SC&N=10 35. Crow, Thomas E. Modernism and Mass Culture in the Visual Arts. In: Modern Art in the Common Culture. Yale University Press; 1996:3-38. 36. Charney, Leo, Schwartz, Vanessa R. Unbinding Vision. In: Cinema and the Invention of Modern Life. University of California Press; 1995:46-71. 37. Gunning T. Modernity and Cinema: A Culture of Shocks and Flows. In: Cinema and Modernity. Rutgers University Press; 2006: 297-316. http://quod.lib.umich.edu.chain.kent.ac.uk/cgi/t/text/text-idx?c=acls;idno=heb08039.0001. 001 38. Hauptman J. Imagining Cities. In: Fernand Le ́ 6/14 09/25/21 Film and Modernity (Paris version) | University of Kent ger. Museum of Modern Art; 1998. 39. Prouty R. The Well-Furnished Interior of the Masses: Kirsanoff’s Menilmontant and the Streets of Paris. Cinema Journal. 1996;36(1):3-17. http://df7sm3xp4s.search.serialssolutions.com/?C=Cinema Journal&s=AC_T_M&V=1.0&L=DF7SM3XP4S&submit=Find&C=&S=SC&N=10 40. Singer B. Hyperstimulus, and the Rise of Popular Sensationalism. In: Cinema and the Invention of Modern Life. University of California Press; 1995:72-101. 41. Turim M. French Melodrama: Theory of a Specific History. In: Cinema Journal. Vol 39. ; 1987:307-327. http://df7sm3xp4s.search.serialssolutions.com/?C=Cinema Journal&s=AC_T_M&V=1.0&L=DF7SM3XP4S&submit=Find&C=&S=SC&N=10 42. Antliff, Mark, Leighten, Patricia Dee. Cubism and Culture. Vol World of art. Thames & Hudson; 2001. 43. Judovitz D. Anemic Vision in Duchamp: Cinema as Readymade. In: Dada and Surrealist Film. 1st MIT Press ed. MIT Press; 1996:46-57. 44. Freeman J. Léger’s Ballet mécanique. In: Dada and Surrealist Film. 1st MIT Press ed. MIT Press; 1996:28-45. 45. Epstein, Jean. Coeur 7/14 09/25/21 Film and Modernity (Paris version) | University of Kent fid ̀ ele. 1923;Masters of cinema. 46. Dulac, Germaine. La Souriante Mme Beudet. Smiling Madame Beudet, and, The seashell and the clergyman. 1922;Hollywood’s attic video. 47. Abel, Richard. Photogénie and Company. In: French Film Theory and Criticism: A History/anthology, 1907-1939. Princeton U.P.; 1988:95-124. 48. Epstein J. Magnification (1921). In: French Film Theory and Criticism: A History/anthology, 1907-1939. Princeton U.P.; 1988:235-240. 49. Clair R. Coeur Fidèle (1924). In: French Film Theory and Criticism: A History/anthology, 1907-1939. Princeton U.P.; 1988:303-305. 50. Dulac G. From Visual and Anti-visual Films; The Essence of Cinema: The Visual Idea;The Avant-Garde Cinema. In: The Avant-Garde Film: A Reader of Theory and Criticism; Ed P Adams Sitney. New York U.P.; 1978:31-48. 51. Farmer R. Jean Epstein. http://www.sensesofcinema.com/2010/great-directors/jean-epstein/ . 2010;57. http://df7sm3xp4s.search.serialssolutions.com/?V=1.0&N=100&L=DF7SM3XP4S&S=AC_T_ M&C=Senses of Cinema 52. 8/14 09/25/21 Film and Modernity (Paris version) | University of Kent Flitterman-Lewis S. Poetry of the unconscious: La Souriante Mme Beudet (1923) and La Coquille et le clergyman (1927). In: French Film: Texts and Contexts. 2nd ed. Routledge; 2000:7-24.
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